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Helga Bode

From: http://vintage.eroticvisions.eu

Helga Bode, as far as can be gathered, was a female german artist who created a lot of spanking art (drawings and watercolor paintings) in the 1920s.

Besides spanking and related corporal punishment scenes, she also drew enema and bottom fetish scenes. Her range of age and gender combinations varies widely; her most common ones are F/f, F/F, F/m, M/F, and M/m.

Little is known about the artist. A number of her works were published as illustrations in German semi-scientific sexology publications in the 1930s, but these were not commissioned illustrations; rather, the artwork was probably given to the publishers by Helga Bode's former psychotherapist whom she had entrusted with a considerable number of her drawings and paintings. It appears to be so that a lot of her drawings were made on theraputic base.

UC Press E-Books Collection, 1982-2004

From: http://publishing.cdlib.org/ucpressebooks

The ideology of Die Schönheit obviously acknowledged Nacktkultur as an expression of eroticism, but it presented eroticism in terms of an idealized code of beauty that filtered out "dark," highly enigmatic, or melancholy relations between desire and nudity. The Parthenon publishing house in Leipzig was perhaps the most daring and erotically conscious promoter of Nacktkultur until 1933. The controlling personality at Parthenon was Ernst Schertel (1884–1956), one of the really fascinating figures of Weimar cultural history. Nacktkultur interested the Parthenon cult insofar as nudism was an aspect of its central obsession, the exposure of erotic desire and pleasure. Schertel gathered photo images of the nude body from a wide array of sources: the nature worshippers, the dance world, the sport and gymnastic cults, sexual medicine, the Mensendieck movement, the film industry, and the theatrical milieu of the art photography studios. The complicated book series issued by the publishing house thematized the imagery in relation to various social, historical, religious, aesthetic, and, above all, psychological issues raised by nudity. But, unlike other Nacktkultur propagandists, the Parthenon cult seemed to accept that nudity could never transcend its association with "unnatural" desires, perverse pleasures, and secret activities. Thus, a number of books in the various series purported to show relations between particular images of the nude body and distinctly "demonic" desires and "strange" drives.

Psychoanalytic theory made a deep impression on Schertel, and he more than any other Nacktkultur theorist accommodated nudity as an expression of perversion and deviancy. Nakedness for him was neither a natural nor an unnatural condition but a projection of fantasy with a great power to surprise regardless of its context. But this power of surprise depended on the perception that nudity was the revelation of something more than a consciously formed ideal—it was the revelation of unconscious desires that were hidden from the body that felt them. Schertel understood nudity as the exposure of a complex, primal exchange of power between seen and seeing bodies. Nudity was not will formation, as Giese proposed, but a mode of communicating deeply ingrained structures of domination that manifested themselves through comparative pleasure relations between bodies. In the journals Skarabäus, Pelagius, Sonnige Welt , and Soma and in the Asa albums, Schertel published, in addition to erotic drawings by artists such as Rudolf Schlichter, Christian Schad, and Helga Bode, nude photographs by, among others, Frantisek Drtikol, Rolf and Lotte Herrlich, W. Kernspecht, Trude Fleischmann, Kitty Hoffmann, Wolf Haarhaus, Madame D'Ora, Manasse, Hilde Kupfer-Meyer, Edith Barakovic, Richard Giesecke, and Marta Vietz, whose bizarre imagery of dancers has only recently been rediscovered. The stress on the revelation of unconscious (fantasy) significations meant that nudity blurred distinctions between fictive, or imaginary, signs and verifiable signs; thus, the journal Asa published novels as well as "scientific" works, and Parthenon as a whole appropriated imagery of nudity from an enormous range of sources, including artworks that depicted bodies in ways that photography could not or dared not.

Richard Hegemann

Richard Hegemann, (who would also use other pseudonyms such as A. Hegener and P. Rollmann, or sign with just the initials R.H.) was a German artist who did many femdom art and fetish drawings in the 1920s, a number of which were published later as illustrations in reputable German publications of Sexual Research Institutes in the early 1930s.
Richard Hegemann was probably a female artist from Berlin who created these drawings for her own pleasure and as gifts or commissions for like-minded friends. In addition to (mostly pencil) drawings, she also did some colored works in watercolor. Richard Hegemann's art shows scenes of dominant women (mainly F/F, F/m and F/M). Boys in Hegemann's art typically wear a sailor suit.
In Germany of the 1920s, fetishism was considered a serious sexuality disorder that needed therapy, so the artist ended up in psychotherapy in the late 1920s. The pyschologist she was seeing talked her into entrusting him with any drawings she still had. She also persuaded some of her spanking art friends to do the same, so the therapist soon had an impressive collection of original spanking art. (A very similar story happened to Helga Bode.)
Besides spanking art, Richard Hegemann would also draw enema art and what appears to be male cross-dressing.

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